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As a costume romance, based on real events, it is inept.

Breakfast On Pluto's tone is a discomforting mixture of comedy and tragedy.

Chris Chow's script makes it seem as if whole scenes have been left out.

After all, what’s so sinister about reading Aesop’s Fables? Everything and nothing, Corbet suggests.

Very easy to like.

Proficient entertainment that marks debut writer/director Wyatt out as a filmmaker to watch.

McDonagh takes what could be a hackneyed tale of mismatched buddy cops and spins it to blisteringly funny effect.

While Caine’s no nonsense heroics will captivate, however, this is ultimately a single-minded affair, manipulating and twisting its way around audience heartstrings with unremitting sentimentality.

Despite the filth, the violence and the desolation, McQueen’s portrait is a thing of brutal beauty in terms of its composition.

Credit must go to cinematographer Piers McGrail whose sumptuous visuals add to the tension and creeping sense of dread.

Unfortunately, despite a highly capable cast, this adaptation just doesn’t have much wind in its sails.

The character-based comedy mostly works as well as it does on the show, but the laboured and frequently infantile storylines make the film fall flat on its face when it's not half way up its own arse.

Jacir's film might look back to the 1930s but it's a film that is in conversation with the present-day.

Shot in lush, vivid black and white, the film carries a sense of age and expectation.

The script by Peter Berry is sharp, tight, witty and intelligent, matched by supremely confidant actors, working in the Prime Suspect style of disciplined individuality.

John Mackenzie, who made the neo-classic Brit mobster movie, The Long Good Friday, 21 years ago, directs with a similar degree of commitment.

You could talk your way round the houses and still come up with very good reasons for believing that when Loach goes political, he makes Karl Marx look benign.